RECAP: 2nd TFO Awards (2010)

The second year of this blog’s awards, the TFO Awards, honoured the excellence in film for the year 2010. The awards were posted in April to May 2012.

Christopher Nolan’s science-fiction heist film Inception won seven out of its nine nominations including Best Motion Picture and Best Original Screenplay.

Another big winner is Darren Aronofsky’s psychological horror Black Swan, nominated for twelve awards and bagged five including Best Directing (Aronofsky) and Best Actress (Natalie Portman).

The rest of the Best Picture nominees were The King’s Speech (9 nominations), The Social Network (9), Blue Valentine (6), The Fighter (6), The Ghost Writer (5), I am Love (5), Agora (3), and White Material (1).

Scroll down below to see the complete list of winners and nominees.

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Best Motion Picture

  • Agora – Alvaro Augustin, Fernando Bovaira
  • Black Swan – Scott Franklin, Ari Handel, Mike Medavoy, Arnold Messer, Brian Oliver
  • Blue Valentine – Lynette Howell, Alex Orlovsky, Jamie Patricof
  • The Fighter – Dorothy Aufiero, David Hoberman, Todd Lieberman, Ryan Kavanaugh, Paul Tamasy, Mark Wahlberg
  • The Ghost Writer – Robert Benmussa, Roman Polanski, Alain Sarde
  • I am Love – Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Tilda Swinton, Alessandro Usai, Massimiliano Volante
  • *WINNER* Inception – Christopher Nolan, Emma Thomas
  • The King’s Speech – Iain Cumming, Emile Sherman, Gareth Unwin
  • The Social Network – Dana Brunetti, Cean Chaffin, Michael De Luca, Scott Rudin
  • White Material – Pascal Caucheteux

Best Achievement in Directing

  • *WINNER* Darren Aronofsky – Black Swan
  • David O. Russell – The Fighter
  • Christopher Nolan – Inception
  • Tom Hooper – The King’s Speech
  • David Fincher – The Social Network

Best Performance by an Actor in a Leading Role

  • Javier Bardrm – Biutiful
  • Jesse Eisenberg – The Social Network
  • Colin Firth – The King’s Speech
  • Brian Geraghty – Easier with Practice
  • *WINNER* Ryan Gosling – Blue Valentine

Best Performance by an Actress in a Leading Role

  • Kirsten Dunst – All Good Things
  • Nicole Kidman – Rabbit Hole
  • Lesley Manville – Another Year
  • *WINNER* Natalie Portman – Black Swan
  • Michelle Williams – Blue Valentine

Best Performance by an Actor in a Supporting Role

  • Andrew Garfield – Never Let Me Go
  • *WINNER* Andrew Garfield – The Social Network
  • John Hawkes – Winter’s Bone
  • Josh Hutcherson – The Kids Are All Right
  • Ewan McGregor – I Love You, Philip Morris

Best Performance by an Actress in a Supporting Role

  • Amy Adams – The Fighter
  • Melissa Leo – The Fighter
  • Kristin Scott-Thomas – Nowhere Boy
  • *WINNER* Jacki Weaver – Animal Kingdom
  • Olivia Williams – The Ghost Writer

Best Performance by an Ensemble

  • Another Year – Michele Austin, David Bradley, Jim Broadbent, Phil Davis, Karina Fernandez, Oliver Maltman, Lesley Manville, Martin Savage, Ruth Sheen, Imelda Staunton, Peter Wight
  • The Fighter – Amy Adams, Christian Bale, Kate B. O’Brien, Bianca Hunter, Jenna Lamia, Melissa Leo, Sugar Ray Leonard, Erica McDermott, Jack McGee, Melissa McMeekin, Mickey O’Keefe, Jill Quigg, Dendrie Taylor, Mark Wahlberg
  • The Kids Are All Right – Annette Bening, Yaya DaCosta, Joaquín Garrido, Eddie Hassell, Josh Hutcherson, Zosia Mamet, Julianne Moore, Mark Ruffalo, Kunal Sharma, Mia Wasikowska
  • The King’s Speech – Anthony Andrews, Dominic Applewhite, David Bamber, Eve Best, Claire Bloom, Helena Bonham Carter, Jennifer Ehle, Colin Firth, Michael Gambon, Calum Gittins, Roger Hammond, Derek Jacobi, Ramona Marquez, Guy Pearce, Geoffrey Rush, Timothy Spall, Freya Wilson, Ben Wimsett
  • *WINNER* The Social Network – Bryan Barter, Jesse Eisenberg, Andrew Garfield, John Getz, Denise Grayson, Armie Hammer, Rashida Jones, Patrick Mapel, Rooney Mara, Joseph Mazzello, Max Minghella, Josh Pence, David Selby, Brenda Song, Justin Timberlake, Douglas Urbanski

Best Original Screenplay

  • Another Year – Mike Leigh
  • Blue Valentine – Derek Cianfrance, Joey Curtis, Cami Delavigne
  • Due Date – Alan R. Cohen, Alan Freedland, Todd Phillips, Adam Sztykiel
  • The Fighter – (Screenplay) Eric Johnson, John Silver, Paul Tamasy, (Story) Keith Dorrington, Eric Johnson, Paul Tamasy
  • *WINNER* Inception – Christopher Nolan

Best Adapted Screenplay

  • Flipped – Rob Reiner, Andrew Scheinman
  • The Ghost Writer – Robert Harris, Roman Polanski
  • Rabbit Hole – David Lindsay-Abaire
  • *WINNER* The Social Network – Aaron Sorkin
  • Toy Story 3 – (Screenplay) Michael Arndt, (Story) John Lassater, Andrew Stanton, Lee Unkrich

Best Animated Feature

  • Despicable Me – Pierre Coffin & Chris Renaud
  • How to Train Your Dragon – Chris Sanders & Dean DeBlois
  • The Illusionist – Sylvain Chomet
  • Tangled – Nathan Greno & Bryon Howard
  • *WINNER* Toy Story 3 – Lee Unkrich

Best Achievement in Cinematography

  • *WINNER* Black Swan – Matthew Libatique
  • Blue Valentine – Andrij Parekh
  • I Am Love – Yorick Le Saux
  • The King’s Speech – Danny Cohen
  • Let Me In – Greig Fraser

Best Achievement in Film Editing

  • Black Swan – Andrew Weisblum
  • Green Zone – Christopher Rouse
  • Inception – Lee Smith
  • The King’s Speech – Tariq Anwar
  • *WINNER* The Social Network – Kirk Baxter, Angus Wall

Best Achievement in Sound Mixing

  • Agora – Jorge Adrados, Mike Dowson, Peter Glossop, Ian Tapp
  • Black Swan – Alfonso Calvo, Craig Heninghan, Ken Ishii, Dominick Tavell
  • *WINNER* Inception – Lora Hirschberg, Steve Nelson, Ed Novick, Gary A. Rizzo
  • The King’s Speech – Paul Hamblin, Martin Jensen, John Midgley
  • The Social Network – Ren Klyce, David Parker, Michael Semanick, Mark Weingarten

Best Achievement in Sound Editing

  • Black Swan – Brian Emrich, Craig Heninghan
  • *WINNER* Inception – Richard King
  • Scott Pilgrim vs. the World – James Boyle, Julian Slater
  • TRON: Legacy – Steve Boeddeker, Christopher Boyes, Addison Teagues, Gwendolyn Yates Whittle
  • Unstoppable – Alan Rankin, Ann Schibelli, Mark P. Stoeckinger

Best Achievement in Original Score

  • The Ghost Writer – Alexandre Desplat
  • *WINNER* Inception – Richard King
  • How to Train Your Dragon – John Powell
  • Shake Rattle and Roll 12 – Punerarya – Jerrold Tarog
  • The Social Network – Trent Reznor & Atticus Ross

Best Achievement in Adapted or Song Score

  • *WINNER* Black Swan – Jim Black, Clint Mansell, Gabe Hilfer
  • Blue Valentine – Grizzly Bear, Joe Rudge
  • Flipped – Marc Shaiman
  • I Am Love – John Adams, Jen Moss
  • Scott Pilgrim vs. the World – Nigel Godrich, Kathy Nelson

Best Achievement in Visual Effects

  • Alice in Wonderland – Sean Phillips, Kevin Ralston, David Schaub, Carey Villegas
  • Black Swan – Michael Collins, Brad Kalinoski, Dan Schrecker
  • Hereafter – Joe Farrell, Bryan Grill, Michael Owens, Stephan Trojansky
  • *WINNER* Inception – Peter Bebb, Chris Corbould, Paul Franklin, Andrew Lockley
  • TRON: Legacy – Eric Barba, Karl Denham, Nikos Kalaitzidis, Steve Preeg

Best Achievement in Makeup and Hairstyling

  • Alice in Wonderland – Paul Gooch, Joel Harlow, Valli O’ Reilly, Patty York
  • *WINNER* Black Swan – Judy Chin, Marjorie Durand, Todd Kleitsch, Mary Hedges Lampert, Michael Marino, George Sheffer, Diana Yun Soo Yoo
  • Shake Rattle and Roll 12 – Punerarya – Annabel Asuncion, Bensy Batoctoy, Chona Batoctoy, Irene Batoctoy, Cherry Castinlag, Richard Carvajal, Alvin Tercena
  • The Way Back – Gregory Funk, Edouard F. Henriques, Yolanda Toussieng
  • The Wolfman – Rick Baker, Dave Elsey, Yoichi Art Sakamoto, Lisa Westcott

Best Achievement in Production Design – Contemporary

  • Black Swan – (PD) Therese DePrez, (SD) Tora Peterson
  • Dogtooth – (PD) Stavros Hrysiogiannis, (SD) Elli Papageorgakopolou
  • The Ghost Writer – (PD) Albrecht Konrad, (SD) Bernard Henrich, Uli Isfort
  • I Am Love – (PD) Francesca Balestra Di Mottola, (SD) Monica Sironi
  • *WINNER* Inception – (PD) Guy Hendrix Dyas, (SD) Larry Dias

Best Achievement in Production Design – Period

  • Agora – (PD) Guy Hendrix Dyas, (SD) Larry Dias
  • *WINNER* The King’s Speech – (PD) Eve Stewart, (SD) Judy Farr
  • Shutter Island – (PD) Dante Feretti, (SD) Francesca Lo Schiavo
  • True Grit – (PD) Jess Gonchor, (SD) Nancy Haigh
  • The Wolfman – (PD) Rick Heinrichs, (SD) John Bush

Best Achievement in Costume Design – Contemporary

  • Black Swan – Amy Westcott, Rodarte
  • Burlesque – Michael Kaplan
  • *WINNER* I Am Love – Antonella Cannarozzi
  • Rabbit Hole – Ann Roth
  • TRON: Legacy – Michael Wilkinson

Best Achievement in Costume Design – Period

  • Alice in Wonderland – Colleen Atwood
  • *WINNER* Flipped – Durinda Wood
  • The King’s Speech – Jenny Beavan
  • Made in Dagenham – Louise Stjernsward
  • Nowhere Boy – Julian Day

Best Achievement in Original Song

  • “If I Rise” from 127 Hours
    Music by A.R. Rahman; Lyric by Dido, Rollo Armstrong
  • “Made in Dagenham” from Made in Dagenham
    Music and Lyric by David Arnold, Billy Bragg
  • “Me and Tennessee” from Country Strong
    Music and Lyric by Chris Martin
  • *WINNER* “Sticks and Stones” from How to Train Your Dragon
    Music and Lyric by Jonsi
  • “You Haven’t Seen the Last of Me” from Burlesque
    Music and Lyric by Diane Warren

NOTE: Best Documentary Feature was not existing categories during this awards.

Click here to see the actual posts on the 2nd TFO Awards.

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Best Picture Profile: The King’s Speech

Directed by: Tom Hooper

Written by: David Seidler

Company: The Weinstein Company / UK Film Council

Runtime: 118 minutes

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The King’s Speech is the 83rd winner of the Best Picture Award and one of the many winners in this category that are biopics. One of the the things that gave this film the edge of winning over its biggest competitor The Social Network is the statistical data that only 14% of the Academy membership are below 50 years old. So maybe, not all of them have Facebook accounts, anyway.

The film is about Bertie, Duke of York, and son of King George V, who has problems because of his stutter. Nothing can help him in his problem – not even doctors. Taking the initiative, his wife, the Queen Elizabeth, met with a speech therapist named Lionel Logue, known for his unorthodox approach in treating his patients. At first, Bertie is hesitant, but because he and Elizabeth realized that he can do better if he continues the lessons, he decides to take intense therapies and lessons.

Things have been going on well for them, but the worsening condition of the King puts him into uncertainty when he realizes that his brother David is intending to marry to an American woman who has been divorced twice, a point that is constantly being objected by the country leaders. The King dies, but David still wants to marry his woman. David takes abdication, leaving Bertie with no other choice but to become the king.

This caught him off-guard, for he is doubtful indeed of his leadership skills because of speech impediment, but Lionel gives him the reasons why he could be the king the country expect him to be. His leadership is challenged when the World War II arrives and the nation needs to have great dependency and confidence with the King.

The film is what the others say about it – old-fashioned. But with some sophisticated elements in it and terrific acting all-around, this is some gooood old-fashioned story.

The direction is surprisingly fresh. The material itself is one of those good-old historical accounts of royalties, but the direction takes it to a very accessible and modern style that has the look of the classic approach in this kind of stories but is exemplifying storytelling elements that are definitely new to the audience. There is something that is extremely fascinating on how the movie was done. And that is an achievement in the direction given that the story itself is not that remarkable. Instead, the film made us see how important this event is for a nation with a colourful and great history. And it is even quite wondrous that the direction plays a very big part in the success of the movie, but the direction itself is low-key.

The screenplay is knowingly able to make the material a very accessible one to the audience. It does not try to make a movie disguised as an accurate history book, where every even feels important because of its significance to the world. The screenplay focuses on the impact of the events to the characters as human beings, and not necessarily as royalties. The scenes are filled with heartfelt exchanges of dialogue that are irresistible and easily recallable. The conversations have the wit, humor, and heart that are needed to tell this story.

The cinematography is one fine thing. After my very first watching of this film, I actually felt indifferent with the nomination for this. Not that it’s bad, not that it’s good, but I just cannot say anything about it. Now, I was able to appreciate the risks taken by the cinematography to tell the story with a new point of view. Scenes of Bertie’s discomfort are shown with perfect unease. It feels powerful, but never forced. And how brilliant it is to use a lot of close up shots to create the atmosphere of humanity.

The editing is very subtle, but you know how important it is for the movie to have this kind of editing. It is sharp, but never too obvious, passive, but never forgettable, accomplished, but never showy. There are these brilliant cuts continuously seen in the film that are completely set to perfect timing and harmony.

The music is very much functioning as an emotional anchor that is sparsely heard but effectively conveys the weight of each scene. It is very subtle, very gentle, but each note the piano hits registers not only what we see, but also how the characters’ reactions in various situations.

The art direction and costume design are particularly noteworthy for being capable to bring back a world that is only available now through museums and encyclopedias with such large amount of detail and brilliance.

The acting is simply sumptuous to watch.

Colin firth is beguiling in his virtuoso performance as the struggling Bertie. He has carefully constructed his character with no false note to be seen, and the result is superbly stunning in every sense of the word. He holds the screen with deep integrity and handicapped confidence with such soulful gravitas that he makes every flaw of the character precise but never too calculated. He has immense tenderness and fragility that is quite endearing and heartbreaking. Firth is very humane, and I feel for him.

Geoffrey Rush is wonderfully complex as Lionel. I guess, everyone agrees, this is not the kind of performance that you normally expect from Geoffrey Rush, but forget that, and this is still a wonderful performance from a gifted actor. The emotions are contained, and it feels quite genuine. The way he peels his character’s layers scene by scene by his face without getting one-dimensional is such a treat to watch. Whether it is a feel-good or a sad scene, Rush handles it with moving simplicity.

Helena Bonham Carter is a lush delight as Elizabeth, the Queen Mother. Even if her exterior is very much of a kindred nature, she has the spark of burning intelligence of a queen and the approachability of a friend that is quite delicious to watch. She is built with steel and heart, and the emotional sensitivity across under the tough woman is wonderfully evident. Dignity, power, and intimacy has never been this heartwarming as Carter’s Queen Mother. Intriguing, meaty, and wonderfully nuanced.

Guy Pearce is honest and quietly impressive as David, Bertie’s brother, inhibits his character so effortlessly, and bringing the royal rebellion on the table with edginess and unexpected power. Jennifer Ehle is surprisingly sublime as Lionel’s wife, with grace and brains so intelligently rooted in her line readings.

This is not a film that breaks grounds in filmmaking, or represents a generation of youth, or gives us anything entirely new, but it refreshes us with classic filmmaking and uses each element of filmmaking, gives them big innovations, and presents to us a story of hope in a very fashionable, slick, compelling, and breathtaking way.

For this, the movie gets:

Agree? Or disagree?

INTRODUCTION – Best Motion Picture: 2010

Well, this was a very good year, I can tell you that right now. So, to start this year immediately, here are the nominees:

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All RIght

The King’s Speech

The Social Network

Toy Story 3

True Grit

Winter’s Bone

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Would it be the survival biopic? Or the psychological supernatural horror? Or the boxing biopic? Or the mind-bending sci-fi? Or the dramedic indie? Or the British period piece biopic? Or the Facebook drama? Or the last installment of a beloved animated trilogy? Or the revenge Western action-drama? Or the suspense-mystery-drama indie?

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I know this year will be hard. That’s why I’m so excited!

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The system will be by lottery, and the last would be the Best Picture Winner, The King’s Speech.

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So, dear reader, would I go with the Academy? Or would I go with an another nominee?

Is THE KING’S SPEECH taking over the race? (Or does the number of noms really matter?)

After the three consecutive wins of The King’s Speech in vital awards (PGA, DGA, SAG), I start to think that The Social Network (which is, in fact, really great) is not really safe for the BP win. Even if it almost swept all of the critics’ orgs, the NBR, and the Golden Globes, those three are the ones I’m upset that TSN didn’t get. So, this just means that this is a neck-to-neck race, huh?

So, we see that the Golden Globes, PGA, DGA, and SAG are the very vital components for you to win the Oscar BP. Here is a short look at the past 15 years of the awards circuit trend.

1995

  • GG: Sense and Sensibility / Babe
  • PGA: Apollo 13
  • DGA: Apollo 13
  • SAG: Apollo 13
  • OSCAR: Braveheart (0 of 4 precursors)

1996

  • GG: The English Patient / Evita
  • PGA: The English Patient
  • DGA: The English Patient
  • SAG: The Birdcage
  • OSCAR: The English Patient (3 of 4 precursors)

1997

  • GG: Titanic / As Good As It Gets
  • PGA: Titanic
  • DGA: Titanic
  • SAG: The Full Monty
  • OSCAR: Titanic (3 of 4 precursors)

1998

  • GG: Saving Private Ryan / Shakespeare in Love
  • PGA: Saving Private Ryan
  • DGA: Saving Private Ryan
  • SAG: Shakespeare in Love
  • OSCAR: Shakespeare in Love (2 of 4 precursors)

1999

  • GG: American Beauty / Toy Story 2
  • PGA: American Beauty
  • DGA: American Beauty
  • SAG: American Beauty
  • OSCAR: American Beauty (4 of 4 precursors)

2000

  • GG: Gladiator / Almost Famous
  • PGA: Gladiator
  • DGA: Crouching Tiger, Hidden Dragon
  • SAG: Traffic
  • OSCAR: Gladiator (2 of 4 precursors)

2001

  • GG: A Beautiful Mind / Moulin Rouge!
  • PGA: Moulin Rouge!
  • DGA: A Beautiful Mind
  • SAG: Gosford Park
  • OSCAR: A Beautiful Mind (2 of 4 precursors)

2002

  • GG: The Hours / Chicago
  • PGA: Chicago
  • DGA: Chicago
  • SAG: Chicago
  • OSCAR: Chicago (4 of 4 precursors)

2003

  • GG: LOTR: The Return of the King / Lost in Translation
  • PGA: LOTR: The Return of the King
  • DGA: LOTR: The Reutn of the King
  • SAG: LOTR: The Return of the King
  • OSCAR: LOTR: The Return of the King (4 of 4 precursors)

2004

  • GG: The Aviator / Sideways
  • PGA: The Aviator
  • DGA: Million Dollar Baby
  • SAG: Sideways
  • OSCAR: Million Dollar Baby (1 of 4 precursors)

2005

  • GG: Brokeback Mountain / Walk the Line
  • PGA: Brokeback Mountain
  • DGA: Brokeback Mountain
  • SAG: Crash
  • OSCAR: Crash (1 of 4 precursors)

2006

  • GG: Babel / Dreamgirls
  • PGA: Little Miss Sunshine
  • DGA: The Departed
  • SAG: Little Miss Sunshine
  • OSCAR: The Departed (1 of 4 precursors)

2007

  • GG: Atonement / Sweeney Todd: The Demon Barber from Fleet Street
  • PGA: No Country for Old Men
  • DGA: No Country for Old Men
  • SAG: No Country for Old Men
  • OSCAR: No Country for Old Men (3 of 4 precursors)

2008

  • GG: Slumdog Millionaire / Vicky Cristina Barcelona
  • PGA: Slumdog Millionaire
  • DGA: Slumdog Millionaire
  • SAG: Slumdog Millionaire
  • OSCAR: Slumdog Millionaire (4 of 4 precursors)

2009

  • GG: Avatar / The Hangover
  • PGA: The Hurt Locker
  • DGA: The Hurt Locker
  • SAG: Inglurious Basterds
  • OSCAR: The Hurt Locker (2 of 4 precursors)

2010

  • GG: The Social Network / The Kids Are All Right
  • PGA: The King’s Speech
  • DGA: The King’s Speech
  • SAG: The King’s Speech
  • OSCAR: ? ? ? ? ? (The Social Nework or The King’s Speech) ? ? ? ? ?

The trend is that at least, you need to win one of those (don’t count Braveheart, alright?). It doesn’t really matter if you win all or many, but it does sure help. Here is a table containing the number of BP winners that get the same number of awards from the vital four awards.

4 awards – 4 of 15 (27%)

3 awards – 3 of 15 (20%)

2 awards – 4 of 15 (27%)

1 award – 3 of 15 (20%)

No award – 1 of 15 (6%)

The King’s Speech won 3. The Social Network won 1. They both have 20% chance of winning, if you’ll look at the history. No one’s really ahead cuz it’s a neck-to-neck race. TSN fans, myself included, don’t worry. It’s a 50-50 race.

Also, if you’ll look at the number of nominations of the BP winner and its closest competitor for the last 15 years, they do not really mean “more noms is exactly for the win.” At bold is the winner. Take a look at this:

1995

  • Braveheart – 10 / Apollo 13 – 9

1996

  • The English Patient – 12 / Fargo – 7

1997

  • Titanic – 14 / LA Confidential – 9

1998

  • Shakespeare in Love – 13 / Saving Private Ryan – 11

1999

  • American Beauty – 8 / The Sixth Sense – 7

2000

  • Gladiator – 12 / Crouching Tiger, Hidden Dragon – 10

2001

  • LOTR: The Fellowship of the Ring – 13 / A Beautiful Mind – 8

2002

  • Chicago – 13 / Gangs of New York – 10

2003

  • LOTR: The Return of the King – 11 / Master and Commander – 10

2004

  • The Aviator – 11 / Million Dollar Baby – 7

2005

  • Brokeback Mountain – 8 / Crash – 6

2006

  • Babel – 7 / The Departed – 5

2007

  • No Country for Old Men – 8 / There Will Be Blood – 8

2008

  • The Curious Case…  – 13 / Slumdog Millionaire – 10

2009

  • Avatar – 9 / The Hurt Locker – 9

2010

  • The King’s Speech – 12 / The Social Network – 8

The 90’s generally proved that “more noms=win.” After the win of Million Dollar Baby, the trend had changed. It doesn’t always mean thet if you have the most number of nominations, then you’ll win. Moreso, the only two cases where the winner had the most number of nominations was that it was also with equal number of nominations with its closest competitor.

It doesn’t really matter if Harvy Weinstein is a great campaigner, he’s still a hit or miss. Did well with Michelle Williams (Blue Valentine) and The Reader, but failed for pushing too much (Cotillard and Laurent for Best Actress last year).

I guess the only option for The Social Network to seal the deal is to have a stronger campaign. But still, it’s a 50-50 race. 😉

Which movie between the two do you prefer? Which one do you think will win?